Книги по дизайну ювелирных изделий

Devoted to the work of one of the 20th century's greatest jewellery designers.

Suzanne Belperron was one of the most talented and influential jewellery designers of the 20th century. Inspired by the discovery of her personal archives in 2007, the authors of this book have created the first volume dedicated to the life and works of this renowned Parisian jeweller. In 1919 Belperron was employed as a model maker and designer by Germaine Boivin. She contributed enormously to the success of the Maison Rene Boivin, but in 1932 she decided to leave the company. It was with her associate Bernard Herz, a well known precious stone and pearl dealer, that Belperron first found the freedom to reject traditional jewellery design and manufacture. Fascinated by coloured stones, regardless of their value, she created highly innovative pieces, in contrast to the standard creations of the time which were mostly angular and set in platinum. Her jewellery was so original that she never signed her pieces, instead insisting 'my style is my signature. Indeed, Belperron's avant-garde style was adored by the 'fashionistas' of her time.

Her work frequently appeared in Harper's Bazaar and Vogue, and her clientele included most of Europe's royalty and aristocrats as well as bankers, fashion designers, intellectuals and American movie stars. The Duke of Windsor, the Rothschilds, Elsa Schiaparelli, Nina Ricci, Colette, Malet Stevens, Ganna Walska, and Gary Cooper are all known to have frequented Belperron's Parisian workshop. Belperron is often imitated today, and the lack of signature on her pieces can make identifying and dating them very difficult. The discovery of her personal archives was therefore of enormous significance and makes this publication an essential reference book for enthusiasts of Suzanne Belperron and jewellery in general.

Sylvie Raulet, a history graduate, graphic designer and journalist, has collaborated with magazines such as 'Beaux-Arts', 'L'Objet d' art', 'Harper s Bazaar' and 'Vogue'. She is the author of several books: 'Bijoux Art deco' (1984), 'Van Cleef & Arpels' (1986, 1997), 'Bijoux des annees 1940-1950' (1987), 'Salon indien' (1996) and 'Cristal de roche' (1999). Driven by a rare enthusiasm for jewellery, Olivier Baroin studied at the Louvre and entered the professional art world in 1987, aged just 17. In 2001 he also became a specialist in antique jewellery. Fascinated by the art and personality of Suzanne Belperron, he acquired her entire personal archives in 2007. His knowledge of Suzanne Belperron and almost daily inspection of her order books allows him to trace without ambiguity her original works, some of which have been mistakenly attributed to other jewellers, and also to rule out pieces that were until now wrongly considered to have been designed by her.

This glittering celebration of Bulgari explores an era of enormous innovation—a time when its creations began to gain fame as the ultimate accessories for celebrities around the world.

Since its founding in Rome in 1884, Bulgari has become synonymous with ingenuity and luxury in jewelry design.

This volume focuses on the 1950s through the 1980s—a period of eclectic creativity that helped to establish the signature Bulgari look and its status in the world of celebrity and high society. Along with a history of the jeweler, the book features approximately 150 pieces from this pivotal period. Highquality photographs of the objects share the spotlight with sketches, photographs, and vintage advertisements from the Bulgari archives, as well as images of the celebrities who adorned themselves with these opulent works, such as Elizabeth Taylor and Sophia Loren.

An introduction by Martin Chapman examines Bulgari in an American context, focusing on its famous clients and social history. An essay by AmandaTriossi provides a deeper look at Bulgari—its founding, history,designers, and innovations. Section introductions for the 1950s, 1960s, 1970s, and 1980s illuminate the trends in jewelry design for each decade, in addition to a chapter dedicated to the legendary Elizabeth Taylor collection.

This is a creative guide to designing jewellery, written by experienced jewellery maker, Liz Olver. In this book she gives comprehensive details on the essential stages of the design process - from working out the brief and seeking inspiration to working with technical drawings and developing the idea further as the piece evolves. Case studies, real-life projects and tips provide professional advice and encouragement. The book is written and illustrated in a clear cut and easily accessible style.

Many of the most beautiful costume jewelry pieces made since the 1940s are presented with full color photographs. In chapters arranged chronologically, the jewelry reflects the changing retail market and manufacturing changes in materials, techniques, and colors. An introduction was written by Lawrence Feldman of Fior in London. The effects of popular heroes and competition are seen to have shaped the costume jewelry industry. The jewelry of such well-known manufacturers as Boucher, Coro, Christian Dior, Grosse, Jomaz, Kramer of New York, Mitchell Maer, Trifari, and many others are displayed with newly revised prices. The book portrays the affordable opulence and sheer beauty of costume jewelry.

This lavish two-volume slipcased work is a publishing event for the quality of its design, full-size reproductions, extensive documentation, and illustrated chronology and index.

With more than 3,000 pieces dating from the 1860s to the present, the Cartier Collection constitutes the world’s largest collection of its kind. This luxury work traces the history of the collection’s high jewellery holdings, and attests to the originality and artistic genius that made Cartier a world-class jeweller. The two-volume set showcases the extraordinary pieces from collectors such as Queen Eliza - beth, the Duchess of Windsor, Daisy Fellowes, Barbara Hutton, and Sir Bhupindra Singh, the Maharajah of Patiala, highlighting Cartier’s mastery of the jeweller’s art through highly original designs, unique colors, and legendary precious stones. More than 600 objects and drawings from Cartier’s vast archives, some previously unseen, are reproduced at actual size and include Cartier’s famous “bestiary” of exotic animals as well as more recent rare brooches, necklaces, and bracelets from the 1960s and 1970s.

About the Authors:

François Chaille wrote Cartier: Creative Writing, the three volumes of The Cartier Collection (Jewelry, Timepieces, and Precious Objects), and Audemars Piguet: Master Watchmaker Since 1875. Michael Spink specializes in Islamic and Indian art, jewellery, and metalwork. He co-authored Beyond Extravagance on Mughal jewellery. Art historian Christophe Vachaudez specializes in royal European jewellery and co-authored Royal Jewels: From Charlemagne to the Romanovs. Thierry Coudert wrote Café Society: Socialites, Patrons, and Artists 1920-1960 and Beautiful People of the Café Society: Scrapbooks by the Baron de Cabrol, and contributed to Cartier 1899-1949: The Journey of a Style. Violette Petit is head of the Cartier Paris Archives. Pascale Lepeu is curator of the Cartier Collection. Pierre Rainero is director of Cartier Heritage.

This sumptuous volume, which includes a complete inventory of every item of the Crown Jewels in the Tower of London, captures the magnificence of a collection of symbolic objects steeped in English history that is still in use today. For anyone with either a professional or a personal interest in jewellery and history, The Crown Jewels will be a delight.

The Crown Jewels tells the history of the spectacular, priceless objects now in the Tower of London. Their story is that of the English monarchy itself – from the 12th-century spoon used for the anointing at the coronation to the platinum crown created for Queen Elizabeth The Queen Mother in 1937, set with the Koh-i-nûr diamond.

Published in association with the Royal Collection and Historic Royal Palaces, the book features specially commissioned new photography, including many detailed shots, allowing individual pieces, the famous gems and carefully selected groups of objects to be viewed as never before.

The text, recounts the development of the collection in the medieval period, the dramatic sale and melting down of almost every piece after the execution of Charles I in 1649 and the remaking of the Crown Jewels for Charles II in 1660. Since then the collection has been augmented with pieces that reflect key moments in English history, such as the regalia created for the only joint monarchs, William III and Mary II, in 1689, and the crown made for King George V’s inauguration as Emperor of India in 1911.

The great 19th-century French jewelers, Boucheron, Chaumet, and later Lalique, excelled in adapting flowers, trees, and fruits into wonderfully imaginative – and highly collectible – bracelets, brooches and necklaces.

The legendary 20th-century firms Van Cleef & Arpels, Bulgari and Belperron also created memorable jewels emulating nature, as did American jewelers such as Seaman Schepps, Oscar Heyman & Brothers, David Webb and Verdura.

Their ingenuity has in turn inspired the designs of our own time, including Mughal-influenced pieces by Joel Arthur Rosenthal, Stefan Hemmerle’s playful ferns and mushrooms, and Jacqueline Karachi-Langane’s cascading orchid necklace for Cartier.

The 375 stunning illustrations make this a collector's piece in itself.

The late nineteenth and early twentieth centuries were a time of particular elegance and extravagance for the Tsars and the wealthy families with whom they were linked.

Nowhere are their lavish tastes more apparent than in the imperial jewels.

Every jewel tells a story. Through his work at Sotheby's and Christie's and his own extensive research, Stefano Papi has spent years unravelling the mysteries of Russian imperial jewelry.

The Romanovs ruled Russia from 1613 to 1917, when the Revolution brought their reign to an abrupt end. Images of the Romanovs and their world are matched with the jewelry itself, offering previously unpublished insights into its character and how (and by whom) it was worn, and bringing it to life. Papi identifies pieces with little or unknown provenance, and he uncovers the fascinating stories behind the jewels and the people who wore them.

He takes us through the golden years, and after the Revolution, he follows the survivors and their jewelry in European courts and in Paris, where many exiles sought refuge. The book closes with the post-war years, in the 1930s.

Towards the end of the nineteenth century, the master jewelers of the Western world began to emerge as individual voices, each with a unique and recognizable accent. As a result, the celebrated designers whose work is featured in this book can be instantly identified.

Castellani, for example, is known for his nostalgic glances back at Etruscan gold work. Fabergé emphasized originality of design and the quality of craftsmanship rather than the intrinsic value of the materials used. Lalique was fascinated by the strange forms he adapted from nature. And the searching, critical eye of a Cartier or a Boucheron could lend chic to their beloved abstract patterns.

The magnificent illustrations offer faithful representations of extraordinary confections of gold, silver and platinum, gems cut and polished in every conceivable fashion, and enamels, translucent, opaque, or as clear as stained glass windows – all designed and made to enhance the charm and allure of the people fortunate enough to wear them.

In fifteen chapters written by leading experts in the field, the world of fine jewelry, including its social, aesthetic and business aspects from around 1850 to our own day is brought vividly to life.

After the 1897 Munich Glass Palace exhibition – when Jugendstil was ‘born’ in Germany – the Stuttgart publisher Julius Hoffmann jr. had the brilliant idea of collating the most interesting illustrations from leading international specialist journals (including Art et Décoration, l’Art décoratif moderne, Revue des Arts Décorativs, La Lorraine artiste, Magazine of Art, Art Journal, The Artist, The Studio, The House, De Woning, Tidskrift for Kunstindustri, Magyar Iparmüvészet) and publishing them in a book entitled ‘Der Moderne Stil’. He also included reproductions of objects exhibited at the Paris Salons, by the La Maison Moderne and Art Nouveau Bing galleries and by artists and makers.

The first magazine of ‘Der Moderne Stil’ [the modern style] was published in 1899; it would be followed until 1905 by 84 issues with several thousand illustrations. Thus an invaluable source of material on Jugendstil objects (with the names of their designers and makers), most of them unknown to this day, was created. We have put all issues into a single book, divided into sections on metal, ceramics, glass, furniture and jewellery.

With approx. 2.000 objects reproduced, this reprint contains a wealth of source material. Authentic, for the most part unknown, illustrations from the heyday of European Jugendstil/Art Nouveau, with all designer and maker names. An indispensable reference work for art historians, dealers, auctioneers and collectors.

A long-awaited survey of more than fifty years of art jewelry from the Padua School covering its work from 1950 to the present
Works by master goldsmiths Mario Pinton, Francesco Pavan and Giampaolo Babetto and other artists together add up to the distinctive, typically Paduan look in art jewelry

The Padua School originated from the Istituto Pietro Selvatico in Padua. The distinctive features of this jewelry are the use of gold reminiscent of the goldsmith's art in antiquity and a modern and abstract formal expression within the group. Mario Pinton, who brought the goldsmith movement international recognition and acclaim in the 1950s and '60s, is credited with founding the experimental goldsmith movement in Padua. Francesco Pavan has enlarged the scope of the Padua School with his kinetic and geometric formal idiom.
The breakthrough on the international jewelry scene took place in the late 1960s with Giampaolo Babetto, under whose support the geometric and Minimalist tendency was most pronounced. Other distinguished artists in jewelry such as Graziano Visintin, Renzo Pasquale, Annamaria Zanella, Stefano Marchetti and Giovanni Corvaya continued along these lines or went their own highly individual ways by experimenting with the use of new materials including plastic. The work of these creative artists is beautifully displayed through color photographs, which serve to highlight their great talent.

The catalogues of the Paris Salons from the turn of the century provide a unique archive of illustrations of the decorative arts at a pivotal time in their development. These volumes contain over 5,500 illustrations of items of jewellery by leading designers such as Boucheron, Chaumet and Lalique. The pictures have been sourced and re-photographed from the original and often rare catalogues. They have been rearranged alphabetically by artist-designer thus providing an indispensable and practical reference for this seminal twenty-year period. They are a unique source for identification and authentication, and an invaluable key both to design ideas and the jewellery of the period.

The catalogues of the Paris Salons from the turn of the century provide a unique archive of illustrations of the decorative arts at a pivotal time in their development. These volumes contain over 5,500 illustrations of items of jewellery by leading designers such as Boucheron, Chaumet and Lalique. The pictures have been sourced and re-photographed from the original and often rare catalogues. They have been rearranged alphabetically by artist-designer thus providing an indispensable and practical reference for this seminal twenty-year period. They are a unique source for identification and authentication and an invaluable key both to design ideas and the jewellery of the period.

An original story on a unique Pink Pearl, popular from the Victorian Age to the 1920s, which now lives a renaissance, thanks to new designs and a new fashion.
This beautifully illustrated book sets out to tell the story of a collection of about 30,000 pearls, with no rival anywhere in the world, and that of the rediscovery of these pearls.
The pink pearl of the Caribbean is produced by a very beautiful shellfish, the queen conch.
The collector is Sue Hendrickson, a professional diver and a sort of female Indiana Jones, who has spent much of her life collecting pearls found by the people who fish this conch, all over the Caribbean. They gather it for its flesh, which is very good to eat, and, on average, one in every 10,000 shells contains a pearl. This collection has been sold to a Swiss dealer in stones and gems, who has successfully begun to make contemporary jewelry incorporating the pink pearls. The book sets out to tell her story, and that of the rediscovery of these pearls, while giving a professional nudge in the right direction to this “new” gem. A book that gives a professional nudge in the right direction to this “new” gem. Professionals and fans of jewelry will find it an entertaining read and a valuable resource.

During the last two centuries BC, the Western Han dynasty of China forged the first stable empire covering all of China and presided over a golden age that shaped much of subsequent Chinese art and culture. From family values to the structure of the civil service, Han thinking and philosophy continue to pervade Chinese society up to the present day - indeed, the majority of Chinese people consider themselves 'Han Chinese'. In their search for immortality, the Han imperial family left an artistic legacy of spectacular beauty and power.

The finest of these treasures to have survived - including exquisite jades, silver and goldwork, bronzes and ceramics - have been found in the tombs of the Han imperial family and of a rival 'emperor' of Nanyue and are brought together for the first time in a landmark exhibition at The Fitzwilliam Museum, Cambridge. The accompanying catalogue, written by an international team of leading scholars in the field, presents a ground-breaking account and is sumptuously illustrated by nearly 500 striking photographs, many of them specially commissioned.